Far from ideological or purist orientations, my artistic research uses elementary shapes and volumes that are subjected to a gymnastics of partition, distortion, imbalance (surfaces broken by folding lines or distributions of contrasting values, the use of discordant perspectives, the dynamic orientation of works). I want to create the sensation of optic instability through these means which I consider dynamic events, bringing into play planes and volumes actual or suggested. An alternating and sequential reading combines the contradictory and complementary poles of continuity/discontinuity, positive/negative, full/empty, presence/absence, according to one’s angle of perception.

When several works are presented together, their rhythmic configurations interact in the spatial field. This is the case, for example, in the “Choréographie du carré” (“Choreography of the square”) series where the figures result from a conjunction of perspectives amplified by the play of colors and shadows: every work becomes an actor in a choreography of weightlessness.

My artistic inquiry into dynamics does not alter the original purity of the geometric language. It confers new life, a new appearance whose elegance owes much to the simplicity and pertinence of each artistic proposal. The evolution of the sciences has taught us the relativity of any system of reference. A work of art is the opposite of a formal equation. It takes into account the language of geometry as a way of playing with the world by revealing its dynamic, subtle and fragile equilibriums.

“The work of art is a mediator between the abstract categories of science and the living substance of our sensitivity.”—Umberto Eco, L’oeuvre ouverte